Chủ Nhật, 3 tháng 5, 2009

Those who are good at winning, don't usually fight. zhang, 1078 AD Those who are good at making shape don't usually fight. zhang, 1078 AD Never be too sure about your plan, and always doubt your ability to kill your opponent's stones. zhong-pu liu, 1078 AD Fighting must not be the key to go, it should be reserved as your last resource. zhong-pu liu, 1078 AD If you cannot succeed, then die gloriously Chinese proverb Go is essentially a form of harmony. Go in the 21st century will have to be go of the 'harmony of the six points - the four quarters, the above and the below.' As in life we will need to view the whole rather than the part. Japanese go has focused too heavily on the local (joseki) rather than the whole for 300 years. The reason the Chinese and Koreans are overtaking the Japanese is that they are closer to achieving this whole-board view. Go Seigen, 9p, 1994 When your opponent is thick, you must also become thick. Otake Hideo, 9p In opponents' sphere of influence, avoid sharp conflict, don't move too deep Otake Hideo, 9p 5 lines for extension in front of shimari Yang Yilun, 7p To invade, need 20 points in open area; otherwise, keshi is best. Yang Yilun, 7p Go is a game of chance where the strong player is he who renders circumstances favorable with tricks. Audouard, Pierre Everything happens on a grid-engraved board with black and white pieces, but if that's all you see then you don't know Go. Audouard, Pierre The game plays itself, the players don't control it. Audouard, Pierre There are possible things, impossible things, and things that happen. Sometimes things happen that were impossible. Audouard, Pierre The possibility or impossibility of an event results logically from the rules. Audouard, Pierre From the way the players perceive what can happen and what shouldn't happen springs what happens. Audouard, Pierre The nature of a game comes from what is played, but it's the sensitivity to the possible and the impossible that gives it value. Audouard, Pierre (A shicho works or doesn't work, but sometimes you don't see it, you don't play it). The possible and the impossible are visible and invisible. What happens is always what you see, what is played. Audouard, Pierre Territory really exists only in the end. Audouard, Pierre There are lines, like roots, that plunge into the stone and shatter it. Audouard, Pierre The intersection is rarely neutral. Audouard, Pierre The stone in the bowl is idiotic. Audouard, Pierre There are players who clack down ridiculous moves. Certain others place their moves with crisp, dry contact, like bones cracking. Still others drop their stones with a soft sound. Audouard, Pierre In the sound of the stone your can hear its purpose. Audouard, Pierre To emphasize the lack of determination in his moves, one speaks of chance. Audouard, Pierre One is never aware enough of the violence in go. Audouard, Pierre You have to like to win, and to learn to recognize the errors that gave you the victory. Audouard, Pierre Sometimes an idiotic stone loafs about the goban. Audouard, Pierre Does white await black's errors? Certainly, in two ways: either he makes clean, clear, dangerous moves; or he makes confusing, twisted moves that are just as dangerous. The adequate answers are always difficult to find. Audouard, Pierre If black doesn't pile up enough errors to lose, then it will soon be time to lower the handicap. Audouard, Pierre Very few good moves are played. Audouard, Pierre There is a time and a space which are the same in all go games: the alternating of black and white, and the intersections. Audouard, Pierre This time and this space have certain properties, and for a long time, to progress means to become familiar with them. Audouard, Pierre You must incessantly question yourself about this time and this space. Audouard, Pierre The ax's handle rots while the mind lives to the rhythm of the stones. Audouard, Pierre Territory is a closed space where time no longer exists. The transformation around it slowly alter it, and sometimes it cracks open like a rotten egg at the least shock. Audouard, Pierre Beginner's games are surprising, often incoherent and incomprehensible. When you improve, your game gains in consistency but flirts with stupidity: you become satisfied with truisms and mechanical movements, you try to obtain a feeling for clearness and style the easy way. Audouard, Pierre You can hide nothing on the goban. Audouard, Pierre Everything would seem to be possible in go. Like pulling a rabbit, by a magical move, out of a hat. Audouard, Pierre (Any move that follows the rules is legal). Possibilities differ according to strength. Audouard, Pierre Josekis are not fixed, definitive things. They indicate the moments when everything can change. Audouard, Pierre Learning josekis by heart is useless if you don't try departing from them. Audouard, Pierre Go is not a blocking game, it's a game of action. Audouard, Pierre Every move brings change. Audouard, Pierre There are players who don't accept exchanges: they play many moves that perpetuate a previous state of the game. Audouard, Pierre Error is one of the sources of transformation. Audouard, Pierre There is a time for doing things. Audouard, Pierre You must always consider the circumstances. Nothing is identical, yet things repeat. Audouard, Pierre Nothing requires doing this or that, but necessity exists. Audouard, Pierre To do or not to do something is not determined by what is done in general, any more than by what is necessary. Doing or not doing something is determined by what you want, and to want in go is to want to win. Audouard, Pierre Contesting, destabilizing, and threatening are sources of transformation. Audouard, Pierre Balance is not what players strive for, and if it does arise, it is in spite of them. Audouard, Pierre It is difficult to know exactly what you are doing. Audouard, Pierre More haste less speed. Fairbairn, John If White takes all four corners, Black should resign; if Black takes all four corners, Black should also resign. Kent, David Make a fist before striking Kim, Jay H. Proverbs do not apply to White. Sand, Tero Grab the 4th point of the bamboo joint. Taylor, Bill A knight's move near the edge of the board cannot be cut. Taylor, Bill When in doubt, remove the enemy stones from the board. Taylor, Bill Turn, turn, turn! Taylor, Bill Don't reduce your own liberties. Taylor, Bill The weak player fears ko, the strong player seeks it. Taylor, Bill Don't defend - extend! Taylor, Bill Keep your own stones connected, and your opponent's apart. Taylor, Bill Always remember, keep the balance (between territory and influence) Figaro In an unreasonable situation, an unreasonable move is reasonable Tamino A basic: Don't push too hard. jansteen In the opening, when you don't know what to play, make a shimari. jansteen There is a thin line between thick and slow. jansteen When you study joseki, you lose two stones in strength -- anonymous Don't try to enclose an open skirt -- anonymous Play slow, win slow; play fast, lose fast -- anonymous Do not make moves that strengthen your opponent! -- anonymous Keep sente in the opening. A premature attack loses sente -- anonymous Keshi is worth as much as an invasion! -- anonymous Only amateurs try to come up with fancy moves -- anonymous Don't count territory held by only one eye! -- anonymous Grab the border point between two moyos -- anonymous Defend weak groups, not strong groups -- anonymous Don't get surrounded! Ever! -- anonymous The simplest move is the best move -- anonymous Hane? Extend! Make it a habit -- anonymous White is always trying to kill a bigger group than black is trying to save -- anonymous Grab the shape points as kikashi -- anonymous Five liberties for tactical stability -- anonymous Don't play on dame points, but guarantee connections -- anonymous Be a little patient. Keshi works! -- anonymous Conservative and slow will win. Believe it! -- anonymous Thickness? Ladders always work! [or don't work if it belongs to your opponent!] -- anonymous Dead group? Always win ko fights! -- anonymous Make your own groups strong first, then attack -- anonymous The book says don't fight (The pen is mightier than the sword). But what else can be expected from a book (written by a pen)? -- anonymous On the second line six die, eight live -- anonymous On the third line, four die, six live -- anonymous In the corner, five stones in a row on the third line are alive -- anonymous Six eyes in a rectangle are alive -- anonymous For rectangular six in the corner, dame is necessary -- anonymous If one player chooses influence, the other player may choose territory, and vice versa -- anonymous The comb formation is alive -- anonymous For the comb formation in the corner, dame is necessary -- anonymous The carpenter's square becomes ko -- anonymous If there is no stone on the handicap point, the carpenter's square is dead -- anonymous There is death in the hane -- anonymous Strange things happen at the one-two points -- anonymous If a formation is symmetrical, play at the center -- anonymous Against three in a row, play right in the center -- anonymous The semeai where only one player has an eye is a fight over nothing -- anonymous There are times when even a fight over nothing means something -- anonymous If there is a ko inside a semeai, capture it on the final play -- anonymous Learn the eye-stealing tesuji -- anonymous Don't make empty triangles -- anonymous Don't make compact groups of stones -- anonymous At the head of two stones in a row, play hane -- anonymous At the head of three stones in a row, play hane -- anonymous Shoulder connections, hanging connections, and knight's move connections -- anonymous If your stone is capped, play the knight's move -- anonymous Beware of the clumsy double contact -- anonymous Don't play in direct contact with the opponent's stone caught in your squeeze-play -- anonymous Don't make a play adjacent to a cutting-point -- anonymous Capture what you cut off -- anonymous Never try to cut bamboo joints -- anonymous If you have one stone on the third line, add another, then abandon both of them -- anonymous Answer the keima with a kosumi -- anonymous Beware of going back to patch up your plays -- anonymous The monkey jump is worth eight points -- anonymous The poor player plays the opponent's game for him -- anonymous If you have lost four corners, resign -- anonymous If you have won four corners, resign -- anonymous Pon-nuki is worth thirty points -- anonymous One point in the center is worth ten in the corner -- anonymous To reduce an opponent's large prospective territory, strike at the shoulder -- anonymous If you plan to live inside enemy territory, play directly against his stones -- anonymous Knight's moves win running battles -- anonymous When your opponent has two weak groups, attack them both at once -- anonymous The enemy's vital point is your own -- anonymous Add one stone, then sacrifice both -- anonymous The saki bottle shape is negative -- anonymous There is no territory in the centre -- anonymous 2-1 is the vital point in the corner -- anonymous Fill in a semiai from the outside -- anonymous Groups mustn't float -- anonymous The strong player plays straight, the weak diagonally -- anonymous If you lose by one point, take a rest -- anonymous Win the early ko to win the game -- anonymous Attach to the strongest stone in a pincer -- anonymous Keep away from thickness -- anonymous Five groups might live but the sixth will die -- anonymous Win the stones, lose the game -- anonymous Don't make territory near thickness -- anonymous Sacrifice small to take large -- anonymous Corner, side, centre -- anonymous Extend one hand from the cross-cut -- anonymous Good moves and bad moves are bedfellows -- anonymous Don't peep at cutting points -- anonymous Take the cutting stone on the second line -- anonymous The second line is the line of defeat, the third line is the line of territory, and the fourth line is the line of influence -- anonymous The rectangular six is normally alive -- anonymous Stop on second, extend on third -- anonymous If you don't know ladders, don't play go -- anonymous Strike at the waist of the knight's move -- anonymous Sacrifice and squeeze -- anonymous Empty triangles are bad -- anonymous Atari, atari is vulgar play -- anonymous Keep inessential ataris till the end -- anonymous Avoid the plate connection -- anonymous A meijin needs no joseki -- anonymous Big groups never die -- anonymous Ikken tobi is never wrong -- anonymous Strange things happen at the one-two points -- anonymous The L-group is dead -- anonymous Don't overlook the edge of the board -- anonymous There is damezumari at the bamboo joint -- anonymous Learn to play under the stones -- anonymous Eyes win semiais -- anonymous Don't make dango's -- anonymous Know the eye-stealing tesuji -- anonymous Connect with good shape -- anonymous Don't disturb symmetry -- anonymous From a cross-cut, extend -- anonymous Use the Knight's move to attack, the 1-point jump to defend -- anonymous Attack two weak groups simultaneously -- anonymous Sacrifice for shape -- anonymous With only one group, you will win -- anonymous Each step in a ladder is worth 7 points -- anonymous With less than 15 stones in danger, tenuki -- anonymous Do not fear furikawari -- anonymous One big eye kills one small eye -- anonymous Seek small gains but incur big losses -- anonymous Don't be greedy! -- anonymous When in a winning position, keep the game simple; Make it complex only when losing -- anonymous Use a wall to attack, not to make territory -- anonymous